Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his analysis to (...) an alternative influential artwork - Duchamp's ‘Fountain’. I argue ‘Fountain’ presents difficulties for Heidegger’s method, some of which can be accommodated. However, the requirement to confine phenomenal engagement to the art object alone leads to problems when the object is appropriated from outside the artworld, not exhibited, and only one photograph bears witness to its existence. The prospect of broadening the focus of our attention from the art object alone to the ‘drama’ of ‘Fountain’ provides for a much richer phenomenal engagement. However, this move runs counter to a second stipulation of Heidegger's approach - that the artist’s intentions and her performative acts in creating the object should be excluded from our engagement with the work. Duchamp's radical move with ready-mades, and ‘Fountain’, in particular, disarms more than Heidegger’s early post-modern conception of an artwork. It also places pressure on aesthetic theories that lack the capacity to reset ontological boundaries when deeper transformative experiences lie beyond the remit of the object alone, or when art-relevant concepts are appropriated into and out of the realm of art. Duchamp points to a richer means of engaging with artworks than the one construed by Heidegger, one that includes consideration of the relevant artmaking acts. (shrink)

I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a (...) dilemma. Is there really an object, a sculpture, that is distinct from its matter, a urinal, which object is created merely by the artist’s choice of the urinal? Or are we dealing with a case in which an artist passes off something, a urinal, as if it were a sculpture, even though it is not one? (shrink)

In the following essay, I argue that in the case of some works of art, moral evaluation should not play a role in artistic appraisal. While I reject the strong ethicist’s view—the view that moral evaluation may inform the artistic evaluation of any artwork—I will not do so in favor of the aestheticist’s position. The aestheticist argues for a rigid distinction between the moral and aesthetic evaluation of an artwork. On this view, the moral status of the work is independent (...) of and irrelevant to artistic value. This view would allow us, for example, to evaluate Leni Reifenstahl’s film The Triumph of the Will as a superior work of cinematic art, while at the same time condemning it on moral grounds. Rather than support a strict separation of aesthetic and moral elements in an artwork, I will suggest that in the case of certain types of artwork, it is inappropriate to use moral criteria in their artistic evaluation—even though the work’s moral content contributes to its artistic value. This is the case in artworks that (1) are “interrogative” in form and (2) have moral dilemmas as their principal theme. Briefly put, an interrogative artwork is one that poses a question or problem that remains unresolved in the work. I will begin by explaining in more detail what I mean by an interrogative artwork. Using the example of Duchamp’s “ready-made” sculpture Fountain, I will argue that it is inappropriate to artistically evaluate such works by appeal to criteria that they themselves call into question. I will then turn to the specific issue of morally interrogative artworks. I will consider Mark Twain’s The Adventures of Huckleberry Finn as a paradigmatic case of an interrogative artwork that poses an unresolved moral problem, and will contrast my own rejection of the moral appraisal of the novel to Wayne Booth’s attempt to provide a morally informed positive assessment of the novel. (shrink)

In the life and work of Marcel Duchamp, there is the combination of the visual and the ideational in works such as The Large Glass, the combination of art and chess within his productive activity, the combination of this productive activity and the ways he made money to live, and the combination of the artwork and the viewer in art’s ongoing developmental movements. These combinations provide a content that can be used to create an understanding of the operation of combination (...) itself. This combination can then be conceptualised through a demarcation of its general features: the layered structural basis of how multiple combinations constitute a combinational whole, and the way in which the purpose of combination becomes the driver of its developmental movements. Another purpose could be to open other terrains of thought for the development of philosophy, allowing a renewed source of momentum through a combinational method. (shrink)

This paper aims at propounding possible relations between the concepts of time and art in Martin Heidegger’s thinking. Time and art which hold a central place in different periods of Heidegger’s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork’s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, it (...) is argued that the work of art bears a temporality of its own and an attempt is made to show how this is realized with the experience of art. (shrink)

For the German philosopher Martin Heidegger man in the contemporary age is living an inauthentic life. This inauthenticity he accounts for man’s misrelating to the world, that is, of things and other men. He sees this misrelating as a threat to man’s existence, that, if not given immediate attention leading towards a resolution, man is to perish together with his history. This inauthenticity that he speaks of is grounded in a forgetting, that is, the forgetting of being. But what is (...) being? In its basic linguistic formulation it is understood as that which is, has existence and not nothing. Man is a being and so are things, and in this fundamental structure he can relate, make sense and know. And yet this definition does not capture its essence for it can easily be assigned to anything as long as it is, thus it can be reduced to a mere entity, but being is more than mere existence in space and time. Heidegger understands being to be that which gives significance or meaningful presence to things and men, that they are as they are is because of their being. Man is always attuned to being, of his own being and that of others. He is able to understand because it is being that which grants knowing, just as a book is a book or man is a man, it is because being gives to them their designation, so there is a relationship made possible by an encounter between beings, that they be known and understood there is harmonious relationship to develop. This is conditioned by a primordial understanding, of man having not yet forgotten, he understands things and other men unto their being.
But everyday man is surrounded with entities, himself being one, and this made him grow familiar with them. This familiarity turned man’s attitude towards a neglect, that is, since he thinks that he already knows their being, it no longer becomes a matter of continuously knowing and understanding them, but instead it happens that there is a taking for granted. The familiarity leads man to take beings for granted unto their essence, thus he forgets and no longer knows, worst is that man will not even know that he no longer knows, that he no longer remembers. Man lives in a state of oblivion. He relates to entities as if he understands them in their being, but is not. This is evident in a chaotic epoch that man is now situated.
A clear example of this situation is man’s abuse of the environment and its resources. Man is here seen as a mindless consumer who views the environment as a reserve where goods are stocked, waiting and ready for consumption. He challenges the environment to give up all of that she has in order to provide reaching to a point even when it is no longer necessary, but because of man’s disorientation, that in turn made him selfish, he could no longer resist and just keeps going. These resulted to the natural resources now running dry and that sooner it could no longer provide. Man endangers his world and himself, of this situation he is blind. Global warming and other environmental calamities are results of these abuses. If man is to save himself, he must find a way to retrieve his original understanding of being, that is, of himself and others. An effort towards a re-establishing of the fundamental relation must be attempted. The researcher gives a proposal as to how a retrieve is to be accomplished, and that is through the asking of the fundamental question, that is, of “Why are there beings at all instead of nothing?”
This question is no ordinary question, and the researcher makes the contention that the asking of the question develops to a pragmatic resolution of the problem where from the forgetfulness of being, even before making the attempt that it be recalled, the question is first to be asked in order to ground any other future questioning, and in order to establish a solid basis for declaring the retrieve of being as necessary and critical for man’s survival. Here the researcher inquires if there be still a possibility for a retrieve, and if there is, how will man proceed with such a possibility.
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Heidegger’s analysis of the use of tools under the rubric of the ready to hand , or handiness, introduced in the first division of Being and Time, has been an important influence on Lee Braver’s thinking. Braver reads Heidegger’s ready to hand alongside the later Wittgenstein’s language games as articulations of a mode of creativity he describes as absorbed, engaged coping. This mode is both more immediate and more fundamental than representational, conceptual thinking. In this paper, I compare (...) Heidegger’s account of the ready to hand with Braver’s model of engaged coping. My contention is that Heidegger’s radically temporal understanding of the gesture of the ideal, the empirical and their relation differs significantly from Braver’s existentialist reading of him. The latter’s analysis of mindful and mindless coping falls within the orbit of the metaphysical epoch Heidegger called the age of the world picture. This causes Braver to misread Heidegger’s concept of world projection as the formation of worldviews. As a consequence, Braver understands sameness and otherness, mindfulness and mindlessness in such a way as to reverse the roles concepts such as conspicuousness and inconspicuousness, concealment and unconcealment play in Heidegger’s texts. Whereas when Braver studies the machinations of technology or the conformity of Das Man, he sees only the exclusion of alterity and subversive becoming, Heidegger sees a privative, dimmed down mode of understanding that nevertheless enacts self-transformative movement every moment. (shrink)

This paper makes an effort to interpret the relationship between the concepts "Zuhandenheit" (readiness-to-hand) and "Vorhandenheit" (presence-at-hand), as they are analysed in §§ 15-16 of Heidegger's "Being and Time". These concepts are two modes of existence of the beings met in our surrounding world. So, they don't concern different things. Heidegger doesn't give the title "things" to the beings ready-to-hand; he names them "equipments" (Zeug). It's a concept relative to the Aristotelian "organon", which Aristotle exemplifies with the human hand (...) as a primary equipment. But Zuhandenheit isn't a quality of the things; the term has to do with the secret character of the equipments as the maining way of their disclosure. It's the Being-in-itself of the equipments, as long as they are useful. This Being-in-itself has nothing common with the Kantian Ding an sich, which is based on the presupposition of a cognitive relationship between subject and object. I posit also the question, whether Zuhandenheit can rendet the secretness and familiarity of our immediate approach to the environment, and my answer to this question is negative. (shrink)

According to Heidegger's Being and Time, social relations are constitutive of the core features of human agency. On this view, which I call a ‘strong conception’ of sociality, the core features of human agency cannot obtain in an individual subject independently of social relations to others. I explain the strong conception of sociality captured by Heidegger's underdeveloped notion of ‘being-with’ by reconstructing Heidegger's critique of the ‘weak conception’ of sociality characteristic of Kant's theory of agency. According to a weak conception, (...) sociality is a mere aggregation of individual subjects and the core features of human agency are built into each individual mind. The weak conception of sociality remains today widely taken for granted. I show that Christine Korsgaard, one of the most creative contemporary appropriators of Kant, operates with a weak conception of sociality and that this produces a problematic explanatory deficiency in her view: she is unable to explain the peculiar motivational efficacy of shared social norms. Heidegger's view is tailor made to explain this phenomenon. I end by sketching how Heidegger provides a social explanation of a major systematic concern animating Korsgaard, the concern with the importance of individual autonomy and answerability in human life. (shrink)

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this (...) way? Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)

Vardoulakis examines the connection between the political and aesthetic commitments of the philosophies of Martin Heidegger and Walter Benjamin. He compares "The Origin of the Work of Art" to "The Work of Art in the Age of Technological Reproducibility.".

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about (...) aesthetics, and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

: Two major philosophers of the twentieth century, the German existential phenomenologist Martin Heidegger and the seminal Japanese Kyoto School philosopher Nishida Kitarō are examined here in an attempt to discern to what extent their ideas may converge. Both are viewed as expressing, each through the lens of his own tradition, a world in transition with the rise of modernity in the West and its subsequent globalization. The popularity of Heidegger's thought among Japanese philosophers, despite its own admitted limitation to (...) the Western "history of being," is connected to Nishida's opening of a uniquely Japanese path in its confrontation with Western philosophy. The focus is primarily on their later works (the post-Kehre Heidegger and the works of Nishida that have been designated "Nishida philosophy"), in which each in his own way attempts to overcome the subject-object dichotomy inherited from the tradition of Western metaphysics by looking to a deeper structure from out of which both subjectivity and objectivity are derived and which embraces both. For Heidegger, the answer lies in being as the opening of unconcealment, from out of which beings emerge, and for Nishida, it is the place of nothingness within which beings are co-determined in their oppositions and relations. Concepts such as Nishida's "discontinuous continuity," "absolutely self-contradictory identity" (between one and many, whole and part, world and things), the mutual interdependence of individuals, and the self-determination of the world through the co-relative self-determination of individuals, and Heidegger's "simultaneity" (zugleich) and "within one another" (ineinander) (of unconcealment and concealment, presencing and absencing), and their "between" (Zwischen) and "jointure" (Fuge) are examined. Through a discussion of these ideas, the suggestion is made of a possible "transition" (Übergang) of both Western and Eastern thinking, in their mutual encounter, both in relation to each other and each in relation to its own past history, leading to both a self-discovery in the other and to a simultaneous self-reconstitution. (shrink)

This paper provides a qualified defense of Martin Heidegger’s controversial assertion that humans and animals differ in kind, not just degree. He has good reasons to defend the human difference, and his thesis is compatible with the evolution of humans from other animals. He argues that the human environment is the world of meaning and truth, an environment which peculiarly makes possible truthful activities such as biology. But the ability to be open to truth cannot be a feature of human (...) biology, without making such pursuits as biology, mathematics, and philosophy a biological function of a certain species, homo sapiens. To deny the human difference amounts to species relativism which leaves the normativity of truth unexplained. To reconcile the human evolutionary heritage and the uniquely human openness to meaning and truth, the paper amplifies a distinction occasionally made by Heidegger between condition and cause. (shrink)

This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...) his philosophy of art exclusive in relation to art which is less philosophically appealing than the readymade tradition, to the extent that Danto did not, for a long time, even try to incorporate problems of beauty, aesthetic experience, and formal qualities, to his theory of the Artworld. (Opening paragraph.). (shrink)

I offer a new interpretation of Heidegger’s analysis of anxiety in Being and Time as an account of the relationship between individual agents and the public normative practices of their communities. According to a prominent recent interpretation, Heidegger’s discussions of anxiety, death and the “call of conscience” together explain how we can respond to the norms of our practices as reasons and subject them to critical reflection. I argue that this is only part of the story. Anxiety is an occasion (...) for Dasein to take responsibility for its ongoing activity of interpreting the possibilities for living and acting made available by the normative practices of its community, which is presupposed and overlooked from the perspective of everyday Dasein. Public normativity underdetermines Dasein’s conception of what it would mean to take up any of the possibilities available in its world as a way of living its own life. (shrink)

A great deal of music making that occurs amongst young people in our communities has its origins in self initiated out-of-school activity. This making reflects the social setting where the musical work is produced, including the manner in which the music is developed and how the musical activity is evaluated by the students. Recognising the origin of where the work is made is taken in this paper as an analogue of the thing (Heidegger, 1949). The thing in Heidegger, is not (...) seen as just an object, de-contextualised and removed from the artist or where the thing was made, but is seen as the embodiment of a shared experience of making and meaning. Following Heidegger’s discussion of the thing this paper considers the difficulty teachers face in evaluating the made musical object developed out-of-school. An instance is provided of 'Joe' devising electronic dance music within a virtual online community. (shrink)

This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that (...) there is a similarity between them in the name of being part of the dispositions of body and desire. First of all, the text focuses on Penal Colony, especially on “The Officer” in or- der to observe his obsession towards the order that ruled by former and the late officer of colony. Deleuze & Guattari conceptualize it as “abstract-machines” and it refers to a contingent state of being which is produced as an obligatory entity. Besides, The Officers’ application via a “labeling machine” on inmates creates a framewok of a dispositif in Foucauldian terminology. Secondly, it is emphasized that The Bachelors from the Large Glass for his context, due to its reference for the concept of desire and a metaphorical connotation for desire as “cocoa”. The Large Glass is also turn around the dispositif in a different way: love. It is stated that criticizing the love to nowhere which belongs to The Bachelors and it can be found that there is an abstract-machine again in back of this practice and it converts The Bachelors’ energeia to make an apparatus possible and operative. (shrink)

Iris Marion Young’s classic paper on the phenomenology of pregnancy chronicles the alienating tendencies of technology-ridden maternal care, as the mother’s subjective knowledge of the pregnancy gets overridden by the objective knowledge provided by medical personnel and technological apparatuses. Following Fredrik Svenaeus, the authors argue that maternal care is not necessarily alienating by looking specifically at the proper attention paid by sonographers in maternal care when performing ultrasound examinations. Using Martin Heidegger’s philosophy as a theoretical lens, the authors argue that (...) sonographers who cultivate technical mastery, build patient rapport, explain the process and significance of the ultrasound, and understand the patient’s world are able to provide excellent patient care. The authors utilize Hans-Georg Gadamer’s hermeneutics to show how sonographers can frame the ultrasound in a way that acknowledges both the subjective knowledge of the mother and the objective data obtained by the sonographer through the use of technology. Ultimately, the authors argue that the common practice of framing the ultrasound as the chance to “meet the baby” is inappropriate, as it exacerbates the tendency to regard objective knowledge as the only legitimate knowledge in medical contexts. They recommend a more balanced approach that elicits a fusion of horizons between the patient’s subjective knowledge and the objective data that is obtained by the sonographer via the ultrasound, thus respecting and bolstering patient autonomy. (shrink)

Hubert Dreyfus has spent his life digging away, asking questions, trying to make sense out of Heidegger, Merleau-Ponty, and Kierkegaard. He has redefined the subtlety of human skills, battled the artificial intelligence people, and built a community of dedicated former students and fellow applied philosophers who are critiquing the West at its technological roots. He contends that within Heidegger's work are ideas of immense importance for our age.

The goal of this article is to understand the concept of poetry in the broad context of Heidegger’s “early” thought, around 1919 and 1930. To that end, we seek to disclose a relation that in Heidegger remains implicit and in the secondary literature absent. This is the relation between poetry and the ways of Being (existence, ready-to-hand, present-at-hand, etc.). Since Heidegger did not explicitly thematize poetry in this broad context, the setup of this article consists of three main steps, (...) in which we make explicit the implicit ontological notion of Heidegger about poetry and, we shall argue, the ontological status of the poeticized. First, we distinguish between the theoretical and the pre-theoretical dimensions of existence, which enable us to explain that for Heidegger poetry is a pre-theoretical letting-see of the various entities that we encounter in the immediate everyday life that is mostly overlooked because of their “self-evident” and “obvious” presence. In this first step we argue that for Heidegger poetry is partially an explicit ontic letting-see. Second, we address the ways of Being in order to secure the systematic horizon for our interpretation regarding the relationship between the ways of Being and poetry. Third, we discuss that an indicative and non-conceptual letting-see of pre-theoretical ways of Being takes place in poetry through the respective poetized entity. In the second and third steps, we exhibit that according to Heidegger poetry results ultimately in an implicit ontological letting-see of the ways of Being. (shrink)

From a Hegelian perspective, Duchamp’s place in the development of the contemporary involves a synthesis of the satiric and ironic modes of art’s previous moments of dissolution. That reading reworks the theme of art’s dissolution into an analytic tool, and saves the concept of “the end of art” from being a mere slogan, one that’s charged with nostalgia and despair, but of ambiguous value as a term of art-historical and aesthetic understanding. However, once we address art in terms a systematic (...) reading of Hegel’s Lectures, we’ll finally begin to understand the potential for applying Hegel’s concept of the dissolution to the contemporary artworld. A Hegelian understanding of irony and satire will allow us to grasp historically, as a replaying of the moment of art’s dissolution, the advent of Marcel Duchamp. For better or for worse, it is in large part Duchamp’s synthesis of the satirical and ironic dissolutions of art that define contemporary art. The revised Hegelian approach that emerges is not merely critical of the contemporary, however, but is also equipped to understand and appreciate it, prepared to retain its most valuable possibilities, and thereby able to remain hopeful about what lies beyond. (shrink)

In everyday life, we constantly encounter and deal with useful things without pausing to inquire about the sources of their intelligibility. In Div. I of Being and Time, Heidegger undertakes just such an inquiry. According to a common reading of Heidegger's analysis, the intelligibility of our everyday encounters and dealings with useful things is ultimately constituted by practical self-understandings. In this paper, I argue that while such practical self-understandings may be sufficient to constitute the intelligibility of the tools and equipment (...) specific to many practices, these “tools of the trade” are only a small portion of the things we encounter, use, and deal with on a daily basis. Practical self-understandings cannot similarly account for the intelligibility of the more mundane things—like toothbrushes and sidewalks—used in everyday life. I consider whether an anonymous self-understanding as “one,” “anyone,” or “no one in particular” —das Man—might play this intelligibility-constituting role. In examining this possibility, another type of self-understanding comes to light: cultural identities. I show that the cultural identities into which we are “thrown,” rather than practical identities or das Man, constitute the intelligibility of the abundance of mundane things that fill our everyday lives. Finally, I spell out how this finding bears on our understanding of Heidegger's notion of authenticity. (shrink)

This contribution discusses the philosophical meaning of the Martin Heidegger’s Rectoral address. First of all, Heidegger’s philosophical basic experience is sketched as the background of his Rectoral address; the being-historical concept of “Anfang”. Then, the philosophical question of the Rectoral address is discussed. It is shown, that Die Selbstbehauptung der deutschen Universität is asking for the identity of human being there (Dasein) in connection with the question about dem Eigenen (the Germans) and dem Fremden (the Greeks). This opposition structuralizes the (...) confrontation with the beginning of philosophical thinking in the Rectoral address. When read against the philosophical background sustaining the Rectoral address, words appearing therein such as “Kampf”, “Macht”, “Volk” and “Marsch” have nothing in common with the same words as used by the Nazis. It is shown that the Rectoral address is an extremely ambiguous text, because it claims a transformation of human being there (Dasein). Although Heidegger’s view on National Socialism is distinguished from Nazis ideology, it is clear that he made a mistake about Hitler. This article makes clear how Heidegger later changed his mind and vocabulary, and in what way this kind of mistakes and changes of mind are inherent to philosophical empiricism. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree (...) of stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter one demonstrates how (...) effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism is tied up with a critique of the reduction of the work of art to an object of aesthetic experience. This leads him to an aletheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein too rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. His appeal to ordinary language provides the (...) backdrop for his critique of the philosophical tradition’s focus on a narrow range of evaluative aesthetic terms, thus excluding most of the language we ordinarily employ in the relevant cases. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein and Heidegger’s anti-scientism about aesthetics, and (b) their anti-scientism leads them towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

This paper draws a link between Heidegger’s reading of Plato’s allegory of the cave and his support for the National Socialist regime during the early 30’s. Three interrelated suggestions are made: (1) That Heidegger’s reading of the allegory of the cave is informed by his preoccupation with the imminent threat of nihilism. (2) That Heidegger’s interpretation radicalizes his critique of the public sphere to the effect that it renders the latter irredeemable. (3) That the unbridgeable gap between philosophy and the (...) public sphere commits Heidegger to the anticipation of a catastrophic event that will open up the possibility of genuine freedom. (shrink)

This paper attempts to exhibit the young Heidegger’s academic and personal thinking path which stems from the two university dissertations (1913 and 1915 respectively) and ends up leading to his first lecture at the University of Freiburg on the determination of philosophy (1919). It is purported in the first place to render an account of the personal circumstances that convinced Heidegger of modifying his own early purposes of becoming a priest, then a theologian and finally a confessional Catholic philosopher by (...) means of an examination of the philosophical themes which motivate his early work (Neokantianism, medieval speculative grammar and Husserlian phenomenology). In the second place, an attempt is made in order to consider Heidegger’s first Freiburg lecture in which the young philosopher intends the enterprise of undermining the primacy of the theoretical and in which he launches a series of remarkable objections (of hermeneutical nature) against Husserlian phenomenology. (shrink)

Upon what philosophical foundation are semantic network graphs based? Does this foundation allow for the legitimization of other semantic networks and ontological diversity? How can we design our computational and informational systems to accommodate this ontological diversity and the variety of semantic networks? Are semantic networks segmentations of larger semantic landscapes? This paper explores semantic networks from a Heideggerian existentialist and phenomenological perspective. The analysis presented uses cultural schema theory to bridge the syntactic and lexical elements to the semantic and (...) conceptual dimensions of semantic network graphs and offers reasons why the viability of such graphs as they are currently constructed are insufficient for creating semantic interoperability for our informationtechnologies. Reconceptualizing semantic networks as cultural landscapes offers us. (shrink)

"On First Looking into Chapman's Homer" by John Keats, may seem archaic now, especially its language. But it expresses the poet's delight and excitement when he discovers a new literary revelation, hitherto hidden from him. He makes an intellectual discovery. I've had this sense of discovery when reading philosophy. Some new approach, some new idea, has made me see a concept I thought I understood in a different and more rigorous way; made me re- examine what I thought I'd understood (...) perfectly well before. It's not so much that the authors I was reading offered the last word on the subject, more that they offered the first word. Here are four examples. (shrink)

I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories of (...) aesthetic experience, I argue they are not a problem for Dewey. Dewey’s account of experience is not only compatible with Dickie’s ‘institutional theory’ but Dewey’s oft criticized notion of ‘an experience’ additionally brings a needed evaluative component to contextual definitions by showing how appeals to our experience of the theoretical, historical, and institutional contexts of the ‘artworld’ can better explain how something like a urinal can become worthy of aesthetic appreciation. (shrink)

The role of the Ready-made Garment (RMG) sector in transforming the lives of working women in Bangladesh has been controversial. This study examines the impact of paid employment in the RMG sector on the empowerment of its female workers. The fieldwork includes semi-structured interviews with female garment workers to explore their lived experiences and views. The primary qualitative data analysis draws principally on Kabeer's (1999) three inter-related dimensions (resources, agency, and achievements) of empowerment. The main findings of the research (...) are that women with access to employment opportunities in this sector have become economically empowered and independent. The higher economic capacity gives them greater autonomy and makes them confident to make some household and strategic life choices. Increased access to public spaces and consciousness about their right to make life choices have boosted their self-esteem. The study concludes that paid employment in the RMG sector has a significant positive impact on the economic, social, and psychological empowerment of female workers in the readymade garments sector. However, some critical constraints in the sector continue to limit their potential for being further empowered. The findings offer valuable insights for practitioners and policymakers. (shrink)

Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of (...) experiences for Dasein that takes those experiences for granted as an axiological ground for their lives in the World. Heidegger sees that process as an inauthentic condition for Dasein's fundamental character. Everyday reasoning generates a variety of present-at-hand instruments to understand and interpret the World and Dasein itself; thus, Dasein moves between Das Man and authentic modes. With a Heideggerian approach, this article observes how the characters in the film Druk take themselves out of Das Man and go into the authentic mode and how they do this through alcohol. The primary data source is Druk and the four teacher characters in the film. In the movie, alcohol is not a ready- to-hand object but a tool motivating its users and pushing them to perform. It is an example equivalent to the Heideggerian analogy of the hammer. The movie is a well-fitting example of the Heideggerian position with the story of four teachers who experiment with having a certain amount of alcohol in their blood to achieve a better version of themselves. (shrink)

R. M. Hare has argued for and defended a ‘two-level’, view of moral agency. He argues that moral agents ought to rely on the rules of ‘intuitive moral thinking’ for their ‘everyday’ moral judgments. When these rules conflict or when we do not have a rule at hand, we ought to ascend to the act-utilitarian,‘critical’ level of moral thinking. I argue that since the rules at the intuitive level of moral thinking necessarily conflict much more often than Hare supposes, and (...) since we often do not have ready-made rules for our moral judgments, we must necessarily use critical moral thinking very frequently. However, act-utilitarian judgements at this level will sharply conflict with our strongly held ‘intuitive’ moral convictions. I show that Hare's attempt to balance these two aspects of moral judgment requires us to simultaneously adopt two conflicting sets of moral standards, and thus an attempt to inculcate such standards constitutes a ‘schizophrenic’ moral education. Finally, I briefly outline an alternative conception of moral education, based on Aristotelian phronesis. (shrink)

Jean-Luc Nancy takes the concept of "essence" in order to indicate its drawbacks on the singularity of being. The concept of essence is not a universal and necessary origin, but contingent and historical meanings for Nancy. This historicity in meaning leads Nancy to question the concept of the individual and the rules of the social/public sphere allocated through individuality. Nancy's argument on the ontological environment of finite beings aims to highlight those beings are mixed singular, not belonging to a universal (...) unit. This allows us to discover that being is singular and also singular-plural to the extent that it is with the other. Thus, essential historical concepts invalidate individual or social organizations at this point. Nancy calls this “finitude” which is the only transcendental concept that makes possible the “being with” (Mitsein). It is possible to think that finitude is the only property to make a community of singularities rather than ready-made concepts of social sciences. I argue that this position is methodological for an alternative socio-ontology. (shrink)

This essay claims that a rupture between two languages permeates human rights discourse in contemporary Anglo-American legal thought. Human rights law is no exception. The one language is written in the sense that a signifying relation inscribed by institutional authors represents concepts. Theories of law have shared such a preoccupation with concepts. Legal rules, doctrines, principles, rights and duties exemplify legal concepts. One is mindful of the dominant tradition of Anglo-American conceptual jurisprudence in this regard. Words have been thought to (...) copy ready-made concepts. Acts of intellectualisation and the accompanying analytic technique have excluded a consideration of a very different sense of legal language. The second sense of a language concentrates upon unwritten acts of meaning which lack a discrete and assignable author. This essay aims to unconceal the importance of an unauthored language. Drawing from Edmund Husserl’s early writings, particularly his Logical Investigations, I shall argue that an unwritten language embodies the written language with acts of meaning. An act of meaning confers one’s experiential body into the content of a concept signified in a written language. In order to understand the importance of such pre-legal acts of meaning in human rights laws, I begin by outlining how universal human rights have been signified as universal by virtue of their content-independence. I then raise the problem of the exclusion of social-cultural phenomena as elements of human rights laws. The clue to this exclusionary character of human rights law rests in the analytic leap from an unwritten to a written legal language. The essay then addresses the effort to link legality with the social world: namely, the effort of grounding legality in a social convention. I examine how a social convention itself is conceptualized, leaving the remainder of acts of meaning. This failure of social conventions to access social-cultural phenomena encourages me to turn to acts of meaning as such acts were understood by Edmund Husserl in his earlier works. Meaning-constituting acts exist prior to intuitions and prior to social conventions. This priority exists analytically as well as phenomenologically. In order to exemplify this prior character of acts of meaning, I retrieve Antigone’s experiential knowledge in Sophocles’ Antigone. Antigone’s unwritten laws are characterized by an absence of mediating concepts. I then identify several elements of an act of meaning in an unwritten language: the experiential body as the source of the acts of meaning, praeiudicia (prejudgements), collective memories, the act character of meaning, and the act of interpretation of social behaviour. My final section raises the prospect of whether human rights can be considered universal if acts of meaning are that important in the identity of a law. (shrink)

Purpose. An empirical verification of the Hemingway’s “sad hypothesis” and study of some individual characteristics of a discourse formation in a process of short texts understanding. -/- Methods and procedure of research. The study was based on the principle of a standardized interview, which was carried out on a random sample (103 respondents) using the questionnaire. The subjects interpreted two proverbs and the short story by Hemingway (“For sale: baby shoes, never worn”). In each case, it was proposed to choose (...) one of the six ready-made interpretations or to create an original one. Proverb explications were classified by experts as “normative” or “deviating”, and interpretations of the story were evaluated into “sad” or “pragmatic” ones. Also, a “normativity index” was calculated for each respondent, reflecting the number of normative renditions of proverbs. The Psychogeometric test was used, and such socio-demographic characteristics were recorded as: gender, age, having children. -/- Results. This study refutes the “sad hypothesis” regarding Hemingway’s six-word story affect. The prevalence of pragmatic type interpretation over sentimental one is statistically significant. The type of interpretation turned out to be not directly related to any of the considered socio-demographic characteristics. It was found that the sad interpretation of the story reliably corresponds to a high normativity of the proverbs explications. Conversely, respondents with deviating interpretations of proverbs were significantly more likely to interpret Hemingway’s story in a pragmatic way. Differential psychological features, which were distinguished using the Psychogeometric test, turned out to be an insignificant predictor of the six-word story interpretations. -/- Conclusions. The analysis of the research results made it possible to argue the thesis that the differences in the formation of individual discourses are directly related to a worldview and indirectly determined by other factors in turn influencing the outlook. The interaction of the worldview with discursive practice that arises in the process of short texts understanding is carried out according to differential scenarios. These scenarios are conditioned by such individual characteristics as discursive conformity and discursive lability, which, in turn, correspond with high and low normativity, respectively. Above features are cognitive in nature. Their ontological localization coincides with the I-language (Chomsky). (shrink)

This article investigates the philosophical history of European universalism with the aim of differentiating between its two senses: the modern and the Ancient. Based on Edmund Husserl’s late interpretations on the unique character of Greek philosophy, this distinction is articulated in terms of “substantial” and “formal” accounts of universalism. Against the modern (substantial) idea of universalism, which took its point of departure especially from the natural law theories of the early modern period, Husserl conceived Greek universalism as an essentially formal (...) notion, which relied on the critique of one’s cultural-historical situation on the basis of the shared faculty of reason. Instead of a ready-made position, this idea of universalism is best described in terms of a “task”, which has its peculiar temporal horizon in infinity. By discussing the political implications of philosophical universalism, the article aims at uncovering its latent cultural implications, that is, the ideas of self-critique and self-renewal nurturing the utopian motive of culture. Thus by broadening the philosophical scope of universalism, the article will insist on its relevance for contemporary debate on Eurocentrism. (shrink)

Part of John Andrew Rice’s legacy, besides being a founder of Black Mountain College, is his vision of what a small liberal arts college curriculum should be. This vision helps shed light on some possible avenues by which to answer the following important questions: What implications do John Dewey’s progressive educational ideas have for experimenting with curricular design at small colleges? Does the college teacher’s struggle for improvement or growth depend on her having a belief that there is an ideal (...) liberal arts college curriculum? Probably the best known of such ready-made curricula is the Great Books Program, which employs a list of classic primary-source texts as the entry point into highly engaged dialogue, scholarship and learning guided by a teacher or tutor. In order to answer these questions, the paper turns to the historical debate between John Dewey and Robert Maynard Hutchins over the relative merits of progressive educational ideals and the Great Books approach. Most who have commented on this debate emphasize the differences between Dewey and Hutchins’ views.[ii] While Dewey emphasized learning through practical problem solving, in a dynamic mix of subject matter and method, Hutchins stressed exposure to and discussion of at least one-hundred primary texts in the Western canon, from Plato and Aristotle to Emerson and J.S. Mill. Hutchins resisted what he saw as the progressive educator’s push to transform the proper end of educating the whole person into training her for a particular vocation. In response, Dewey criticized Hutchins’ insistence that there existed a “hierarchy of truths” and that higher learning should remain aloof to the concerns of everyday life. Few commentators, however, mention the significant areas of agreement between the pedagogical approaches of Dewey and Hutchins, as well as other Great Books scholars. Since Rice praised the ideas of at least one Great Books proponent (Stringfellow Barr of St. John’s College), a more positive reconstruction of the Dewey-Hutchins exchange helps us to see how Dewey’s ideas informed Rice’s vision for the experimental college at Black Mountain—or so I argue.[iii]. (shrink)

Mass shootings constitute a recurrent and most violent phenomenon in the U.S. and elsewhere. This paper challenges the ready-made, solipsistically contained metanarratives on offer by mainstream media and formal institutions with regard to the psychological antecedents of the perpetrating social actors, while theorizing mass shootings as acts of violence that are systemically inscribed in the foundations of communities. These foundations abide by the logic of sacrifice which is propagated in instances of collective traumatism. It is argued that the cultural (...) trauma that emanates from events of mass shootings, inasmuch as the commemorative events that are performed on regular occasions, constitute re-enactments of the death drive that sustains communities. The cultural analytic deploys against a CDA reading of longitudinal studies on mass shootings, coupled with psychoanalytic discourse analysis, prior to submitting mass shootings to a deconstructive line of reasoning as systemically necessary transcendental violence. Ultimately, it is shown that the intertextual institutional chain that informs the mediatized representation of this social phenomenon merely attains to obliterate and, hence, to propagate cultural traumatism and the sacrificial logic that underpins it. The terms micrometanarrative, parafunction and expropriating ipseity are introduced and operationalized in this context. (shrink)

In this article I argue that contemporary critical theory needs the conceptual tools of social ontology in order to make its own ontological commitments explicit and strengthen its interdisciplinary approach. On the other hand, contemporary analytic social ontology needs critical theory in order to be able to focus on the role that social change, power, and historicity play in the constitution of social facts, and to see the shortcomings of an agential and intentionalist approach to social facts. My thesis is (...) strengthened by a historical reconstruction of the presence of two different approaches in the original program of the family of critical theory apparently most hostile to social ontology, (the Frankfurt School), namely Horkheimer’s program of a critical social philosophy which includes a social ontology, and Adorno’s negative attitude towards it, epitomized by the paradoxical notion of “ontology of the false state”. Adorno’s negative attitude was later inherited by Habermas and Honneth, whose work I show to be nevertheless deeply laden with ontological commitments. I then argue that, if one accepts the socio-ontological redefinition of critical theory, then the post-metaphysical paradigm adopted by Habermas should be revised and a certain conception of the linguistic turn in the understanding of social action abandoned. On the side of contemporary social ontology, the impulse coming from critical theory should allow us to distinguish between forms of ‘traditional social ontology’, that simply apply ready-made general metaphysical concepts to social reality, and a ‘critical social ontology’, oriented to socializing ontology and critically transforming metaphysical categories. (shrink)

John Wilkins and Malte Ebach respond to the dismissal of classification as something we need not concern ourselves with because it is, as Ernest Rutherford suggested, mere ‘‘stamp collecting.’’ They contend that classification is neither derivative of explanation or of hypothesis-making but is necessarily prior and prerequisite to it. Classification comes first and causal explanations are dependent upon it. As such it is an important (but neglected) area of philosophical study. Wilkins and Ebach reject Norwood Russell Hanson’s thesis that classification (...) relies on observation that is theory-laden and deny the need for aetiological assumptions and historical reconstruction to justify its arrangement. What they offer instead is a significant (albeit controversial) contribution to the philosophical literature on classification, a pre-theoretic natural classification based on the observation of patterns in data of ready-made phenomena. Their notion of ready-made phenomena rests on a conception of tacit knowledge or know-how. This is evident in their distinction between strong Theory-dependence and na ̈ıve theory-dependence. Their small t-theory-dependence permits patterns of observation that facilitate know-how but does not rely on a domain-specific explanatory theory of their aetiology. Wilkins and Ebach suggest classification differs from theory building in that it is passive (whereas theory building is active). Classification is possible just because it does not require the sieve of theory to capture classes that are ‘‘handed to you by your cognitive dispositions and the data that you observe’’ (p. 18). Finding regularities sans-theory is just something we do and can do without any prior theory about the underlying causes or origins of the resultant regularities. Luke Howard’s classification of clouds serves as an exemplar of a passive, theory-free classification system and the periodic table and the DSM help to illustrate this type of non-aetiological patterning. A recurrent theme is the nature of naturalness. For Wilkins and Ebach, the conception of naturalness is not one that is based on the generation or discovery of natural kind categories popular in both the traditional metaphysics of Mill and Wittgenstein as well as updated notions within philosophy of biology such as Boyd’s Homeostatic Property Cluster kinds. Instead, Wilkins and Ebach define the naturalness of classification as the falling into hierarchical patterns, aligning the search for natural arrangement with the aim of systematics, and as something that is grounded in a cognitive task or activity. However, they leave the question of realism v. antirealism open. ‘‘In natural classification...we must have real relations no matter how we might interpret ‘real’’’ (p. 70). There is tension with regard to their ontological commitments as they vacillate between constructive, operationalist, and realist approaches. Wilkins and Ebach initially define real as that which is causal and important (pp. 70–71), and later as that which ‘‘depends in no way upon a mind or observer’’ (p. 122). This makes their claim that there was ‘‘no real theory involved [in the pre-Darwinian classifications of Jussieu and Adanson]’’ (p. 64) difficult to interpret. Cont’d……. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter (...) de Maria’s Statement Series, Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

The Theosophical Society, founded in New York in 1875, was, at the turn of the Twentieth Century, a global phenomenon with 100,000 members. New Age philosopher Dr Rudolf Steiner (1861-1925) was appointed as the first Secretary General of the German Section of the Theosophical Society on 19 October 1902. The Theosophical Society offered Rudolf Steiner a platform, a ready-made audience, infrastructure, and the insider experience of the world’s leading New Age spiritual society. The success of the Theosophical Society demonstrated (...) that there was a public appetite to hear about reincarnation, karma, maya, kamaloca, and other Eastern and alternative spiritual ideas. The Theosophical Society provided Rudolf Steiner a capable, multilingual, and determined personal assistant, Marie von Sivers (1867-1948). For Rudolf Steiner the Theosophical Society offered the perfect training ground for what would be, a decade later, his life’s work, the Anthroposophical Society. Rudolf Steiner grew the membership of the German Section of the Theosophical Society from 377 in 1905 to 3,702 in 1913. He earned cash from ticketing of his lectures and his Mystery plays, and from book sales of his personal publishing house, ‘Philosophisch-Theosophischer Verlag’. Another enterprise, the ‘Johannes-Bau-Verein’ (Johannes Building Association) was founded in 1911, independent of the Theosophical Society, to build a theatre in Munich to present Rudolf Steiner's plays. The building application was rejected by the Munich municipal authorities in 1912. The resistance to a build in Munich, provided impetus for the move to build in Dornach, Switzerland. The Anthroposophical Society was founded 28 December 1912 in Cologne, Germany. Most of the members of the German Section of the Theosophical Society members followed Rudolf Steiner into the Anthroposophical Society. The Theosophical Society expelled Rudolf Steiner from the Theosophical Society on 7 March 1913. The foundation stone for the Goetheanum (then still called the ‘Johannesbau’) was laid 20 September 1913. The Theosophical Society had served as the ideal prototype and springboard for founding and growing the Anthroposophical Society. (shrink)

The present paper aims at showing that the phenomenological method is a crucial methodological element of every research that is based on the interpretation of utterances or texts based on experiences, like religious studies. Following the neophenomenological school, the notion of “phenomenon” is understood in a radically relative way: “A phenomenon for a person at a given point of time is a state of affairs for which this person cannot — in spite of trying to vary the presuppositions she makes (...) as much as possible — withdraw the belief that it is a fact” (Schmitz, 2003: 1). Starting from this notion, phenomenology may fruitfully criticise two common strategies: reduction and construction. The first one tries to reduce experiences to allegedly more fundamental processes like electrical impulses in neural nets. Here the phenomenologist must object that in doing so without preceding phenomenological analysis the reductionist will lose large parts of potentially important information. As to the second strategy, constructions — in the sense of presuppositions, ready-made concepts etc. — are present in all texts that are meant to express an experience. In order to describe the underlying experience more adequately, the phenomenological researcher has to remove as many constructions as possible. In this way she does not only produce a description that is ”closer” to the experience (though she can never hope to fully grasp it), but she also paves the way for comparison and dialogue across religions and cultures. (shrink)

Martin Heidegger defines the world as ‘the ever non-objective to which we are subject as long as the paths of birth and death . . . keep us transported into Being’. He writes that the world is ‘not the mere collection of the countable or uncountable, familiar and unfamiliar things that are at hand . . . The world worlds’. Being able to fully and richly express how the world worlds is the task of the artist, whose artwork is the (...) crystallization of this ‘worlding’. For Heidegger it is especially the poet who is attuned to this ‘worlding’, for the poet’s work is focussed on and happens within language itself. The poet is a ‘world-maker’, but this ‘worlding’ is not directed at creating a fictional world; rather it is aimed at revealing the world itself, drawing to the foreground the ‘ever non-objective’ nature of the world, the world happening and unfolding through and with us. This paper, using T.S. Eliot’s poetry, particularly Four Quartets as an example, will delve into how the language of the poet is able to articulate this seemingly invisible boundary between the everyday world and that same world revealed as a mysterious potential that ‘worlds’. The ‘religious imagination’ is central in how this transformation of reality, through poetic language, can manifest. Paul Ricoeur’s work on the poetic and religious dimensions of imagination, particularly the notion of ‘hope’ provides the theoretical underpinnings to explain this transformation. (shrink)

This thesis articulates a novel interpretation of Heidegger’s explication of the being (Seins) of gear (Zeugs) in §15 of his masterwork Being and Time (1927/2006) and develops and applies the position attributed to Heidegger to explain three phenomena of unreflective action discussed in recent literature and articulate a partial Heideggerian ecological metaphysics. Since §15 of BT explicates the being of gear, Part 1 expounds Heidegger’s concept of the ‘being’ (Seins) of beings (Seienden) and two issues raised in the ‘preliminary methodological (...) remark’ in §15 of BT regarding explicating being. §1.1 interprets the being (Sein) or synonymously constitution of being (Seinsverfassung) of a being (Seienden) as a regional essence: a property unifying a region (Region), district (Bezirk), or subject-area (Sachgebiet) – a highly general (‘regional’) class of entities. Although Heidegger posits two components of the being of a being, viz. material-content (Sachhaltigkeit, Sachgehalt) and mode-of-being (Seinsart) or way-of-being (Seinsweise, Weise des Seins, Weise zu sein) (1927/1975, 321), the unclarity of this distinction means that it does not figure prominently herein. §1.2 addresses Heidegger’s distinction between ontological and ontic investigations and his notion of ‘modes of access’ (Zugangsarten, Zugangsweisen). Part 2 expounds §15 of BT’s explication of the being of gear. §2.1 analyses Heidegger’s two necessary and sufficient conditions for being gear and three core basic concepts (Grundbegriffe) enabling comprehension of these conditions and therewith a foundational comprehension of gear. Heidegger explicates the being of gear through content of unreflectively purposeful, non-intersubjective intentional states. I term such states ‘mundane concern’, which is almost synonymous with Hubert Dreyfus’s term ‘absorbed coping’ (1991, 69). Heidegger’s explication highlights around-for references (Um-zu-Verweisungen) as the peculiar species of property figuring in mundanely concernful intentional content. §2.2 clarifies Heidegger’s position on the relationship between to-hand-ness (Zuhandenheit) and extantness (Vorhandenheit) in the narrow sense: two of Heidegger’s most widely discussed concepts. I reject Kris McDaniel’s recent reading of Heidegger as affirming that nothing could be both to-hand and extant simultaneously (McDaniel 2012). Part 3 develops and applies Heidegger’s phenomenology of mundane concern. §3.1 explains the phenomena of situational holism, situated normativity, and mundanely concernful prospective control. §3.2 undertakes the metaphysical accommodation of around-for references, which §3.1 posited as featuring prominently within mundanely concernful intentional content. This thesis thus contributes not only to Heidegger scholarship, but also to contemporary debates within the philosophy of action and cognitive science. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to (...) their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

Departing from the premise that the poststructuralist paradigm still reigns supreme in feminist and gender theory, that is, despite the niche efforts made in the past two decades to challenge it linked to the so called “speculative” turn or the materialisms (and realisms) emerging from the feminist field itself (such as the Utrecht School, inspired by Rosi Braidotti), we set the call for papers for the issue before you in terms that would invite authors ready to challenge the dominant (...) epistemic framework. We invited papers that engage with materialism(s), realism(s), sciences and projects engaged in rethinking the post-human beyond the poststructuralist (and, we dare say, postmodern/ist) norm. -/- . (shrink)